After high school, he attended the Eastman School of Music for two years; he then transferred to Westminster Choir College where he completed his BM in organ performance as a student of Ken Cowan. While at Westminster, he also studied harpsichord with Kathleen Scheide. Further organ studies and coachings have been with Roberta Gary, David Higgs, Susan Landale, Marie-Louise Langlais, Kimberly Marshall, Paula Pugh Romanaux, Kathleen Scheide, and Carole Terry.
Edward has been recently appointed Sub Dean of the Philadelphia Chapter of the American Guild of Organists.
Currently Assistant Director of Music at Bryn Mawr Presbyterian Church, his duties include directing numerous children's and handbell choirs and serving as principal accompanist for the 65-member Sanctuary Choir.
Edward has previously held positions in New York City (Christ Church, Methodist), Morristown, NJ (St. Peter's Episcopal Church) and in the Mt. Airy neighborhood of Philadelphia (Grace Epiphany Episcopal Church). In addition to recitals at The Cathedral Church of St. John the Divine and St. Thomas Church in New York City, and Old West Church, Boston, he has also performed in Germany and Wales as well as on the historic 18th century Andreas Silbermann organ in Strasbourg, France.
Edward’s achievements as a church musician and performer were most recently recognized when he was named as a member of the “Class of 2017” by The Diapason magazine’s program, “20 under 30,” which lifts up young professionals in the world of organ, harpsichord, carillon, and church music.
A major interest in contemporary organ music, particularly by American composers, led Edward to commission "E," "Fantasia," and "Parodies" by Kathleen Scheide; "Praeludium" and “Psalm 139” by Pamela Decker; "Prelude on the Carillon d'Alet" by Craig Phillips, and "Exordium" by Carson Cooman. A composer himself, “Flourishes and Reflections – Organ Music for Service or Recital” was recently released by Lorenz.
In this conversation, Edward and I talk about his organist career and about his graceful strategy of dedicating his own compositions to other organists and composers.
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